The Unification Epicenter of True Lightworkers
In 1984 a large cache of over 300 artifacts was discovered by a small group of gold prospectors led by engineer Dr. Elias Sotomayor in a tunnel 300’ below ground in the jungle-covered mountains of La Maná, Ecuador. Accurate dating of the artifacts is as yet impossible by the latest methods, as the thermoluminescence technique would be unreliable due to years of exposure to sunlight since their discovery. The lithic technology and geometry presented in the artifacts denies placement in known cultural contexts from the region, suggesting that they may predate the known cultures from the region. The symbolism presented in the forms and in inlaid designs and script on the La Maná artifacts most closely relates to those of the Sanskrit culture known from southeast Asian contexts, and has toured Europe in the Unsolved Mysteries Exhibition. The script is consistent with the logographic form of Sanskrit, the mother language from which the Mayan and Egyptian glyphs have descended. The geometric analysis given herein suggests that the La Maná artifacts encode fractal information regarding the resonant properties of calcite mineral, informing the design function of the Orion pyramids of Giza, Egypt - the production of Electrum water.
The La Maná site (0.95°S 79.18°W) is 7,470 miles from Giza; a distance that is exactly 30.0% of the Earth’s circumference. The finds have defied categorization among any known culture from South America, exhibiting iconography consistent with Sanskrit traditions foreign to the region. The place name itself is an ancient one, likely a remnant of the prior Sanskrit inhabitants for whom the word mana meant "mind" or "mental body". The significance of this name may become more clear as the artifacts reveal their encoded psychoacoustic geometry. Most amazing are the representations of the Great Pyramid at Giza, a King Cobra (a snake known to exist only in southeast Asia) and an engraved global map of the present continents of the world and other landmasses now submerged. Advanced technological features are apparent in the stonework, including magnetic zero-point effects and inlaid lines that fluoresce under ultraviolet light. The artifacts defy any simple explanation, revealing that the technological capabilities of ancient man were millennia in advance of that used by industrial man. The group of over 300 objects has remained in Ecuador in the private collection of German Villamar for over a decade since their discovery by Sotomayor, a gift of encoded knowledge from a teacher to student. This analysis of the enigmatic artifacts will focus primarily on the implications of the geometry represented by their forms and inlaid patterns in an attempt to solve the mystery vieled by the cultural diaspora that succeeded the genius of the Sanskrit mother-culture that flourished below the surface of the Earth.
Ultraviolet fluorescence is a well-known property of calcite and other minerals found in natural abundance. The calcite has been mixed as a mortar and inlaid into the lines incised upon the stoneworks’ faces. Visible light is emitted upon exposure to longwave UV (365nm wavelengths) when electrons fall back to their initial or ground states, causing some of the excited energy to be lost as heat, resulting in a shift in the wavelength of the energy to lower energy (longer wavelength) visible light. Many minerals possess this quality, also observed upon exposure to shortwave UV (255nm wavelengths). Various admixtures have apparently been used to specify the light spectra emitted by the differently colored mortars used to achieve the inlays. Manganese is likely among these mineral additives to the calcite mixture, though specific color-producing combinations have not been determined. Calcite can emit a broad range of colors under longwave UV light including white, blue, red, orange, yellow and green, and the ancient artists at La Maná used the entire palette in their geometric designs. This fluorescence effect has been described as quantum scattering, and has also been employed in the creation of brilliant pigments by the ceramicists of the Maya of the Yucatan Peninnsula. The clay used by the Maya contained nanoparticles of iron and manganese that, when boiled with indigo produces Maya blue. The metal nanoparticles scatter light in a nonlinear, quantum fashion as the atoms in the metals vibrate near the wavelength of the re-emitted blue light (José-Yacamán et al, Hubbard et al). This resonance amplifies the reflected light just as in the fluorescence artifacts of La Maná, the Maya likely having inherited many nonlinear techniques of the preceding Sanskrit mother culture.
A precisely hewn set of inlaid stone discs was also recovered from the tunnels near La Maná. Their complex strictly geometric design is based on the circle, or mandala in Sanskrit, a sacred symbol used in meditation. The Spiral mandala stone disc is inlaid with a spiral pattern that perhaps references describes an orbital path to the gravitic center, the path inward to the point of stillness. The expanding spiral path is rendered in a blue fluorescent inlay, while the outer circle is a reddish-orange in daylight and brilliant white under UV. The spiral design is today culturally symbolic of inward journey through meditation and used to hypnotic effect in perpetual rotation, inducing the hypnogogic state. This disc exhibits a region of magnetic zero at its center that has been tested consistently, causing any magnet hung like a pendulum over the center of the disc to rotate over the inlaid surface in the very pattern of incised lines. The magnetization of the stone disc was most likely caused by the exposure to strong magnetic fields, like those observed in resonating psychoacoustic architecture as described earlier. The circular stone disc astonishingly presents ancient wisdom concerning the relationship between magnetism and gravity, planetary forces that can be focused.
A pair of palm-sized octagonal stone plates found together may have been placed on each palm during meditation. One octagonal stone is inlaid with 7 concentric circles, and the other with both concentric and offset circles inlaid. The stone with the concentric set contains seven light-colored circles, another prime number reference. This pattern of concentric circles is a mathematical expression of the structure of prime numbers, described later as a unifying design of the cosmos. The concentric rings are also identical to those that are produced by the refraction of light through calcite crystal. One finds this same pattern of concentric rings at the center of the crystallographic image of calcite. Astoundingly, the ancient artists of La Maná precisely represented the refractive symmetry of calcite crystal, the very property that produces the observed effect of UV fluorescence. Indeed, the design itself is a complete visual explanation of the fluorescence phenomena of the inlaid calcite mineral, which is also the main constituent of the limestone from which the Orion Pyramid complex was constructed. Not only the fluorescent effects of the mortar materials used, but indeed the complete forms of the stoneworks were designed to convey the standing wave structure of Magnetic Resonance. The wavelengths of light produced by the calcite inlaid circles organize themselves into the same distinct pattern as the ELF wavelengths of sound resonating through the Orion Pyramids. These mandala represent the resonance of earth, a pattern of refraction observed of all wavelengths of energy.
A central principle underlying the hypothesis of Magnetic Resonance is that the magnetic North pole is the center from which emanate the frequencies of Earth’s hum, presenting an interesting possibility. Perhaps the variation between the designs of the two octagonal discs can be seen as describing the structure of Earth resonance at two different quantum states associated with different locations of the magnetic North pole. The current location of the magnetic North pole fluctuates more than 11 degrees off the geographic N pole, as has been the general case for the last 12,000 years of global warm trends. The preceding Pleistocene glacial age was abruptly ended by a catastrophic event that likely involved the offsetting of the magnetic poles to their current location. The octagonal stone disc with offset multicolored circles may be symbolic of the current misalignment of the magnetic pole and the resulting asymmetry in the standing wave patterns of Earth resonance. The prior high-resonance alignment is presented by the La Maná artists as perfectly concentric circles in the octagonal symmetry of calcite, the seven circles are prime. This octagonal cross was once called the "rose cross" by the Copts, and is referred to by Native American tribes as the four-quartered hoop of the nation, and is a complex structure underlying the meaning behind prime number references encoded in myriad artifacts from La Maná. In their collective presentation of the sacred order of primes, the deeper holistic meaning of these artifacts comes into focus.